The All-In-One Approach to Succeeding at the Piano, Book 2C: Book 2C Piano Book

Book 2C strikes a real balance between introducing substantial new concepts and keeping students engaged with music that actually sounds good. The stylistic variety means students aren't grinding through exercises; they're learning waltz bass and broken chord patterns through blues, folk, and original solos that make sense musically.

A collection that honors where young pianists actually are musically. The blues numbers have swagger, the folk arrangements feel genuine, and the original solos sound like music someone wrote to say something, not just to teach a technique. Students get to own their playing rather than serve the method.

Elementary pianists in their second or third year of study who need structured introduction to waltz and broken chord accompaniments, interval recognition, and expanded reading across the staff. Students ready for more sophisticated harmonic concepts like IV chords and I-V7-I cadences will find plenty of material that applies these ideas immediately.

• Introduce waltz bass and broken chord patterns separately before combining them in the same piece. Have students tap the left hand pattern while singing the melody first.
• When teaching legato pedaling, demonstrate how the pedal point changes with harmonic movement. Play a progression without pedal, then with sustained pedal, then with pedal changes to show the difference.
• Build interval ear training gradually by singing M2, M3, M4, M5, and M6 before identifying them on the page. Use the folk and classical pieces as listening examples for familiar intervals.
• Start ledger line reading with one note at a time. Isolate passages with ledger lines from the surrounding music so students aren't tracking multiple visual elements at once.

Assign this as the primary method book for piano lessons during the late elementary to early intermediate phase, using repertoire selections for recitals once students have mastered specific concepts. The included music dictionary supports independent student reference, reducing lesson time spent on terminology review.

• Waltz bass and broken chord bass patterns in both hands
• Interval ear training (major 2nds through major 6ths) and interval identification
• Reading ledger lines above, below, and between the grand staff
• One-octave scales and I-V7-I progressions in F and D major
• Dotted quarter note rhythms and eighth rests
• Legato pedaling technique with harmonic awareness
• Diatonic harmony recognition (I, IV, and V7 chords)
• Parallel and contrary motion scales with cadential progressions
• One-hand arpeggios